{"id":7857,"date":"2016-10-25T08:14:33","date_gmt":"2016-10-25T07:14:33","guid":{"rendered":"http:\/\/www.fjala.info\/?p=7857"},"modified":"2021-05-13T01:10:47","modified_gmt":"2021-05-12T23:10:47","slug":"roman-i-nje-bukurie-te-skajshme","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/roman-i-nje-bukurie-te-skajshme\/","title":{"rendered":"ROMAN I NJ\u00cb BUKURIE TE SKAJSHME"},"content":{"rendered":"

Nga Isak Ahmeti<\/strong><\/p>\n

(Anton Nik\u00eb Berisha: Gjin Bardhela i arbresh & Etja e gur\u00ebzuar, roman, “Faik Konica”, Prishtin\u00eb 2002<\/em>.
\nLa sete pietrificata, p\u00ebrkthimi italisht nga Albana Alia, Pellegrini Editore, Kozenc\u00eb, 2013<\/em>.)<\/p>\n

T\u00eb dy botimet, ai shqip dhe italisht, kan\u00eb zgjuar interesim t\u00eb madh tek kritika letrare shqipe dhe italiane. Pa dyshim se botimi italisht (q\u00eb do t\u00eb promovohet, me 5 dhjetor 2016, n\u00eb Bari t\u00eb Italis\u00eb, paraqet nj\u00eb ngjarje t\u00eb ve\u00e7ant\u00eb jo vet\u00ebm p\u00ebr let\u00ebrsin\u00eb shqipe, por edhe p\u00ebr at\u00eb italiane, gj\u00eb q\u00eb \u00ebsht\u00eb vler\u00ebsuar edhe nga 22 shkrimtar\u00eb dhe studiues italian\u00eb e arb\u00ebresh. Ky roman, t\u00eb cilin po e marrim n\u00eb shqyrtim, si tekst letrar narrativ dhe si tekst i hapur (Umberto Ecco) ofron mund\u00ebsi t\u00eb shumta interpretimi dhe vler\u00ebsimi.<\/p>\n

Si arritje e p\u00ebrkryer artistike (Eneida Topi), si roman i nj\u00eb bukurie t\u00eb skajshme, ka zgjuar interesim t\u00eb madh te kritika letrare shqipe dhe e huaj, ve\u00e7an\u00ebrisht nd\u00ebr shkrimtar\u00ebt dhe studiuesit italian\u00eb dhe arb\u00ebresh, 22 punimet e t\u00eb cil\u00ebve jan\u00eb p\u00ebrfshir\u00eb tek libri: Romanzo di estrema belleza a cura Alba Alia – Labinot Berisha, “Faik Konica”, Prishtin\u00eb 2016, q\u00eb nxjerrin n\u00eb pah dy \u00e7\u00ebshtje: nga nj\u00ebra an\u00eb qasje, lexime dhe interpretime t\u00eb ndryshme, ve\u00e7antin\u00eb, pasurin\u00eb e tekstit dhe mund\u00ebsin\u00eb e komunikimeve t\u00eb ndryshme t\u00eb tij dhe nga ana tjet\u00ebr, aft\u00ebsin\u00eb dhe dijen e autor\u00ebve t\u00eb punimeve p\u00ebr t’u ballafaquar me nj\u00eb struktur\u00eb poetike t\u00eb nd\u00ebrliqshme, si\u00e7 \u00ebsht\u00eb ajo e romanit Etja e gur\u00ebzuar<\/em> (Albana Alia & Labinot Berisha).<\/p>\n

GJIN BARDHELA I ARBRESH & ETJA E GUR\u00cbZUAR<\/strong>
\n(Shtresimet<\/em>)<\/p>\n

Gjin Bardhela i arbresh & Etja e gur\u00ebzuar<\/em> i autorit t\u00eb mir\u00ebnjohur,\u00a0Anton Nik\u00eb Berisha<\/strong>, \u00ebsht\u00eb nj\u00eb roman vlerash t\u00eb m\u00ebdha poetike, roman i p\u00ebrkryer artistikisht, i strukturuar n\u00eb 16 kaputuj; \u00e7do kapitull \u00ebsht\u00eb edhe nj\u00eb gurr\u00eb e re idesh e p\u00ebrjetimesh, t\u00eb cilat jan\u00eb strukturuar harmonish\u00ebm n\u00eb organizimin kompozicional. S\u00eb k\u00ebndejmi, sipas vler\u00ebsimit t\u00eb Prend Buzhak\u00ebs, rr\u00ebfimet k\u00ebtu dalin aq t\u00eb shkurta, t\u00eb cop\u00ebzuara apo si rr\u00ebfejza t\u00eb brejtura. Mungesa e nj\u00eb sinteze t\u00eb gjer\u00eb epike z\u00ebvend\u00ebsohet me cop\u00ebza rr\u00ebfejzash (“cop\u00ebza rr\u00ebfimesh, si shkulme shtjellash t\u00eb larg\u00ebta…”) me fragmente simbolike, me struktura t\u00eb t\u00ebra lirike-figurative. K\u00ebto cop\u00ebza rr\u00ebfimesh narratori i krahason me qindvjetshat.<\/p>\n

Megjithat\u00eb, koherenca mbetet se mbetet e realizuar p\u00ebrmes nj\u00eb kodi specifik krijues: p\u00ebrmes Vet\u00ebdijes Ideale, Shpirtit t\u00eb shtresuar arb\u00ebresh, t\u00eb plazmuar te personazhi kryesor q\u00eb \u00ebsht\u00eb Gjin Bardhela (por ka edhe personazhe t\u00eb tjer\u00eb si: Gjyshja Mri, Magdalena e bukur e Maqit, Z\u00ebri, Rrezarta, gruaja e vdekur e Gjin Bardhel\u00ebs, N\u00ebna Drane dhe babai i Gjin Bardhel\u00ebs – bart\u00ebs t\u00eb ideve n\u00eb roman – me t\u00eb cil\u00ebt, n\u00eb shtegtimin e tij, ai, Gjin Bardhela, ringjall\u00eb takimet. \u00cbsht\u00eb me r\u00ebnd\u00ebsi t\u00eb theksohet se t\u00eb 16 kapitujt, me tekste paralele n\u00eb kursiv, me p\u00ebrzgjedhje stilistike t\u00eb ve\u00e7anta, me tablo poetike t\u00eb pazakonshme, me sintaksostilemat, tekstit n\u00eb fjal\u00ebn i japin cil\u00ebsi t\u00eb pap\u00ebrs\u00ebritshme. Kjo cil\u00ebsi e pap\u00ebrs\u00ebritshme \u00ebsht\u00eb pothuaj n\u00eb t\u00eb gjitha faqet e romanit, por n\u00eb m\u00ebnyr\u00ebn m\u00eb t\u00eb theksuar dhe t\u00eb ve\u00e7ant\u00eb te fillimi i kreut t\u00eb par\u00eb dhe te fillimi i kreut t\u00eb fundit, t\u00eb cil\u00ebt po i japim n\u00eb vijim p\u00ebr t\u00eb par\u00eb dhe p\u00ebr t\u00eb shijuar bukurin\u00eb dhe ve\u00e7antin\u00eb e shtjellimit poetik :<\/p>\n

“Hijet e muzgut t\u00eb lodhur luanin padjall\u00ebzisht me jehon\u00ebn e gurgullim\u00ebs s\u00eb Lumit t\u00eb Madh t\u00eb Maqit; p\u00ebrngjanin n\u00eb shtojzavalle t\u00eb brishta, q\u00eb ringjallen n\u00eb nd\u00ebrrime stin\u00ebsh. Hidheshin her\u00eb me nj\u00eb an\u00eb e her\u00eb m\u00eb an\u00eb tjet\u00ebr t\u00eb katundit si p\u00ebrfytyrime t\u00eb turbullta e pastaj zbritnin leht\u00eb-leht\u00eb dhe puthnin val\u00ebt, q\u00eb dal\u00ebngadal\u00eb i mbulonte terri. Lumi rridhte si nj\u00eb \u00ebnd\u00ebrrim i paftuar i harrimit. Pas pak reja e dendur dhe e zymt\u00eb, e krijuar thuaja nga p\u00ebshtyma hyjnore, zbriti dhe vuri plot\u00ebsisht pushtetin e saj t\u00eb mug\u00ebt n\u00eb kulmet e sht\u00ebpive dhe n\u00eb rrug\u00ebt e Maqit t\u00eb heshtur: katundit iu zu fryma si mbr\u00ebmjeve t\u00eb vona t\u00eb dimrit mbytur n\u00eb akull, kur nata, bashk\u00eb me cegm\u00ebn, shtrihen pacenuesh\u00ebm dhe njer\u00ebzit z\u00ebn\u00eb e struk\u00ebn n\u00eb vetvete si t\u00eb z\u00ebn\u00eb n\u00eb moh dhe i falen jermit t\u00eb p\u00ebrgjumt\u00eb”<\/p>\n

* * *<\/center>“Dejti tashm\u00eb kishte mbledhur nin\u00ebzat e fundit t\u00eb zbardhemta, t\u00eb harruara aty-k\u00ebtu n\u00ebp\u00ebr hap\u00ebsir\u00eb nga sosja e Dit\u00ebs. Faqja e ujit dhe gjith\u00eb ajo q\u00eb kapte syri, mor\u00ebn nj\u00eb pamje t\u00eb p\u00ebrhitur, q\u00eb t\u00eb kujtonte ngjyr\u00ebn e shk\u00ebmbinjve t\u00eb rrahur nga stuhit\u00eb nd\u00ebr mote. H\u00ebna, sy\u00ebnd\u00ebrruese e nat\u00ebs, nuk kishte gjas\u00eb t\u00eb p\u00ebrlindte drit\u00ebsimin e saj t\u00eb haresh\u00ebm; t’u falte val\u00ebve epshin e vall\u00ebzimit nus\u00ebror, si\u00e7 vepron zakonisht kur zbret dhe i puth ato mbr\u00ebmjevre t\u00eb fundver\u00ebs e t\u00eb fillimvjesht\u00ebs as t’y tregoj\u00eb reve udh\u00ebn e shtegtimit, q\u00eb pastaj dalldisen, deri n\u00eb ekstaz\u00eb, n\u00ebp\u00ebr q\u00ebndizmat e kalt\u00ebrsis\u00eb s\u00eb qiellit. Tisi i territ vazhdonte ta p\u00ebrgjumte detin bablok, i cili p\u00ebrgatitej t’i falej kolovajz\u00ebs \u00ebnd\u00ebrruese t\u00eb nat\u00ebs<\/em>“.<\/p>\n

Romani n\u00eb fjal\u00eb i Anton Nik\u00eb Berish\u00ebs ka gjith\u00e7ka ngrin dhe gur\u00ebzohet (gur\u00ebzimi si nj\u00eb dukuri q\u00eb na ka ndjekur nd\u00ebr shekuj – gur\u00ebzimi i \u00ebndrr\u00ebs dhe nj\u00ebmend\u00ebsis\u00eb, i mendimit dhe ndjenj\u00ebs, qenies dhe shpirtit, i idealit dhe veprimit(Anton \u00c7efa), \u00ebsht\u00eb shtresuar n\u00eb dy plane, n\u00eb dy nyja kompozicionale n\u00eb mes Idealit dhe Realitetit, mes Shpirtit dhe Shprishjes, n\u00eb mes Etjes dhe Gur\u00ebzimit. P\u00ebr k\u00ebt\u00eb gjendje ballafaqimi e p\u00ebrplasjeje, \u00ebsht\u00eb i vet\u00ebdijsh\u00ebm edhe vet\u00eb Gjini-Antoni, kur thot\u00eb:<\/p>\n

“Ti shkel n\u00ebp\u00ebr \u00ebndrrat tua, i tha z\u00ebri.
\nShkel, se ato kan\u00eb v\u00ebrshuar udh\u00ebn dhe s’ka kah t’ia mbaj.
\nZoti nuk m’i ka dh\u00ebn\u00eb krah\u00ebt t\u00eb fluturoj si shpend n\u00ebp\u00ebr qiell.
\nN\u00ebse ti shkel n\u00ebp\u00ebr \u00ebndrrat tua, at\u00ebher\u00eb shkel n\u00ebp\u00ebr jet\u00ebn t\u00ebnde. “\u00cbndrrat” jan\u00eb pjesa m\u00eb e lir\u00eb e liris\u00eb s\u00eb shpirtit dhe e mendimit t\u00eb gjakuar”.<\/p>\n

\u00c7’\u00ebsht\u00eb e v\u00ebrteta, k\u00ebto ballafaqime, si\u00e7 e ka v\u00ebn\u00eb re edhe P. Buzhala, jan\u00eb kontrastuar n\u00eb p\u00ebrmasa universale koh\u00ebsh dhe hap\u00ebsirash: etje\/det si dhe n\u00eb p\u00ebrmasa t\u00eb mikrokosmosit personal: err\u00ebsir\u00eb\/drit\u00eb.<\/p>\n

Romani: Gjin Bardhela i arbresh & Etja e gur\u00ebzuar, botimi i Prishtin\u00ebs, \u00ebsht\u00eb p\u00ebrcjell\u00eb me nj\u00eb shkrim, mjaft p\u00ebrmbajt\u00ebsor, t\u00eb shkrimtarit e p\u00ebrkthyesit Amik Kasoruho, t\u00eb titulluar: Gjin Bardhela p\u00ebrmbyll tragjedit\u00eb e lashta dhe dyshimet e sotme, bukurin\u00eb e pamort dhe trishtimin e pashuar, ku, nd\u00ebr t\u00eb tjera, thuhet: “Thellimi i pun\u00ebs k\u00ebrkimore bashk\u00eb me erudicionin si dhe p\u00ebrvoja e tij bashk\u00eb me shkrimin imagjinativ, i ka mund\u00ebsuar Berish\u00ebs q\u00eb t\u00eb krijoj\u00eb nj\u00ebr\u00ebn prej veprave m\u00eb t\u00eb r\u00ebnd\u00ebsishme t\u00eb tij dhe t\u00eb proz\u00ebs shqipe n\u00eb p\u00ebegjith\u00ebsi, romanin Gjin Bardhela i arbresh & Etja e gur\u00ebzuar.<\/p>\n

Personazhet, vendet ku shpaloset jeta e tyre, ambienti e edhe gjuha e romanit t\u00eb Anton Nik\u00eb Berish\u00ebs na \u00e7ojn\u00eb n\u00eb Arb\u00ebri. Por nj\u00eb kufizim kaq i ngushtuar i vepr\u00ebs do t’i hiqte asaj at\u00eb vler\u00eb q\u00eb e bart natyrsh\u00ebm nga faqja n\u00eb faqe…<\/p>\n

…nuk gjejm\u00eb n\u00eb t\u00eb nj\u00eb ndodhi q\u00eb p\u00ebrmbyll nj\u00eb fillim dhe nj\u00eb fund, sepse nuk trajton nj\u00eb cop\u00eb jet\u00eb: \u00ebsht\u00eb nj\u00eb pasqyr\u00eb jete. Shpesh, duke shfletuar faqet e proz\u00ebs, na b\u00ebhet se jemi duke lexuar poezi t\u00eb mir\u00ebfillt\u00eb”. K\u00ebto nendime dhe vler\u00ebsime t\u00eb A. Kasoruhos, t\u00eb cituara m\u00eb lart, si\u00e7 e ka v\u00ebn\u00eb re edhe Ragip Sylaj, i p\u00ebrligj vet\u00eb teksti i romanit t\u00eb A.N. Berish\u00ebs. Madje vet\u00eb p\u00ebrmendja e disa titujve t\u00eb kapitujve mund\u00ebson t\u00eb hetohen dhe shijohen bukurit\u00eb dhe ve\u00e7orit\u00eb e gjuh\u00ebs poetike, ngarkesat semantike dhe ngjyrimet stilisike:<\/p>\n

“Rr\u00ebfejza t\u00eb brejtura, Gruaja me yje n\u00eb sy, K\u00ebmisha e gjarprit, Shtjell\u00eb frym\u00ebsh, Ura pa nj\u00eb krah, Rr\u00ebfimi i djegur, Vargjet n\u00eb pergamen\u00eb t\u00eb gurt\u00eb, Prushi i \u00ebndrrave” etj.
\nN\u00eb agonin\u00eb e Gjin Bardhel\u00ebs-shkruan Anton \u00c7efa – fizikisht m\u00eb shum\u00eb i vdekur se i gjall\u00eb, shpirt\u00ebrisht m\u00eb af\u00ebr jet\u00ebs se vdekjes-ravij\u00ebzohet historia e shpirtit t\u00eb arb\u00ebrit, pasqyra e identitetit ton\u00eb etnik, trash\u00ebgimia e psik\u00ebs son\u00eb komb\u00ebtare, nj\u00eb qen\u00ebsi e mitit dhe realitetit, p\u00ebrvij\u00ebzimi i \u00ebndrr\u00ebs dhe zhg\u00ebndrr\u00ebs.<\/p>\n

Ai n\u00eb t\u00eb v\u00ebrtet\u00eb esht\u00eb personazhi i vet\u00ebm i vepr\u00ebs, q\u00eb t\u00ebrheq, n\u00ebp\u00ebrmjet p\u00ebrfytyrimit, nj\u00eb mori personazhesh t\u00eb tjer\u00eb (si p.sh. mal\u00ebsori nga Dheu i Arb\u00ebrit, i shtr\u00ebnguar nga varf\u00ebria dhe mungesa e buk\u00ebs p\u00ebr f\u00ebmij\u00eb, detyrohet ta ndez pyllin pran\u00eb sht\u00ebpis\u00eb p\u00ebr ta shnd\u00ebrruar n\u00eb tok\u00eb buke…), t\u00eb gjall\u00eb e t\u00eb vdekur, q\u00eb gjallojn\u00eb n\u00eb k\u00ebt\u00eb bot\u00eb dhe n\u00eb t\u00eb p\u00ebrtejmen, t\u00eb gjith\u00eb t\u00eb gur\u00ebzuar n\u00eb etjen e Arb\u00ebrit p\u00ebr jet\u00eb. P\u00ebr m\u00eb tep\u00ebr, Gjin Bardhela, si kryepersonazh, \u00ebsht\u00eb nj\u00eb arb\u00ebresh i gdhendur koh\u00ebrave dhe hap\u00ebsirave t\u00eb Arb\u00ebrit, q\u00eb bart fatin ton\u00eb dhe prandaj na takon t\u00eb gjith\u00ebve dhe \u00e7do dukurie q\u00eb lidhet me ne: historis\u00eb son\u00eb, mitit, psikologjis\u00eb, m\u00ebnyr\u00ebs s\u00eb jetes\u00ebs, zakonit, kultur\u00ebs, artit.<\/p>\n

Ai mediton t\u00eb haluaren historike, kujtohet duke rr\u00ebfyer mite iliro-shqiptare me gjarp\u00ebrinj dhe shtojzavalle, rithekson disa vlera esenciale etnopsikologjike dhe etike t\u00eb arb\u00ebror\u00ebve si mikpritja, besa, flijimi p\u00ebr t\u00eb mir\u00ebn e p\u00ebrbashk\u00ebt, por nuk e kap\u00ebrcen, si v\u00ebrehet, superstitucionin pagan q\u00eb ka mbijetuar pjes\u00ebrisht, n\u00eb forma t\u00eb ndryshme, deri sot (A.Goj\u00e7aj).<\/p>\n

\u00cbndrra dhe filozofia e Gjin Bardhel\u00ebs p\u00ebr jet\u00ebn, p\u00ebr njeriun dhe p\u00ebr njer\u00ebzimin n\u00eb p\u00ebrgjith\u00ebsi dhe, n\u00eb m\u00ebnyr\u00eb t\u00eb ve\u00e7ant\u00eb p\u00ebr arb\u00ebreshin, \u00ebsht\u00eb shpalosur artistikisht n\u00ebp\u00ebrmjet dialog\u00ebve t\u00eb tij me nj\u00eb z\u00eb q\u00eb flet s\u00eb brendshmi, i cili nuk jet\u00ebson vet\u00ebm nj\u00eb alter ego, por kryen disa funksione artistike: kujton, argumenton, kund\u00ebrshton dhe mbi t\u00eb gjitha, p\u00ebrsiat, filozofon.<\/p>\n

N\u00eb romanin n\u00eb fjal\u00eb jan\u00eb g\u00ebrshetuar me mjesht\u00ebri, n\u00eb m\u00ebnyr\u00eb brilante, historia komb\u00ebtare dhe kulturore e kombit, gjeografia fizike dhe shpirt\u00ebrore e tij, ku lehtas kan\u00eb hyr\u00eb edhe personazhe t\u00eb tjera, kulturore e historike, si De Rada e Gjergj Kadtrioti, figura shum\u00eb dom\u00ebth\u00ebn\u00ebse n\u00eb jet\u00ebn shqiptare.<\/p>\n

\u00cbsht\u00eb me shum\u00eb r\u00ebnd\u00ebsi t\u00eb theksohet se romani n\u00eb fjal\u00eb shquhet p\u00ebr p\u00ebrshkrime t\u00eb bukura, mahnit\u00ebse, duke marr\u00eb duksh\u00ebm nj\u00eb konfiguracion etno-psikik, deri n\u00eb p\u00ebrshkrime t\u00eb detajshme t\u00eb jet\u00ebs zakonore, madje deri n\u00eb veshjen e personazheve legjendar\u00eb. \u00cbsht\u00eb poetik, i p\u00ebrkryer, p\u00ebrshkrimi q\u00eb autori i b\u00ebn t\u00eb dukurit t\u00eb Frangut, tat\u00ebs s\u00eb Bardhel\u00ebs:<\/p>\n

“…Pran\u00eb nj\u00eb shk\u00ebmbi t\u00eb madh dalloi bab\u00eb Frangun. Dukej i qet\u00eb dhe i heshtur. N\u00eb trup mbante nj\u00eb fustanell\u00eb ngjyr\u00eb tambli, brezin prej stofi t\u00eb q\u00ebndisur me ar, q\u00eb ia nxirrte qartazi shtatin e hedhur; xhamadanin<\/em> prej shijaku me p\u00ebrqinjt\u00eb, q\u00eb kryq\u00ebzoheshin me m\u00ebng\u00eb t\u00eb zbukuruara me nj\u00eb vist\u00ebr fijesh gajtani<\/em>; n\u00eb k\u00ebmb\u00eb opinga l\u00ebkure t\u00eb q\u00ebndisura sip\u00ebr me penj pambuku, t\u00eb derdhur me krife rruzash ngjyr\u00eb g\u00ebsht\u00ebnje; n\u00eb brez i varej palloska e ver\u00ebs, nd\u00ebrsa n\u00eb dor\u00eb i shk\u00eblqente unaza e argjend\u00eb. Nga larg iu b\u00eb se ai kishte v\u00ebn\u00eb p\u00ebrmbi struk\u00ebn e zbukuruar ose klash\u00ebn e punuar me lesh dhije dhe delje t\u00eb p\u00ebrzier, po, sa iu afrua, v\u00ebrejti se k\u00ebto t\u00eb dyjat nuk i kishte t\u00eb veshura”.<\/p>\n

P\u00ebrshkrim t\u00eb bukur, sa real aq edhe ekzotik, autori i b\u00ebn Maqit, aty ku endet hieja e De Rad\u00ebs, hije e t\u00eb vdekurve, e s\u00eb kaluares. Mjafton p\u00ebrshkrimi i Maqit n\u00eb fillim t\u00eb romanit q\u00eb t\u00eb kuptojm\u00eb shestimin e shkrimrarit p\u00ebr ta par\u00eb Maqin real pas satenit t\u00eb bardh\u00eb mjegullor t\u00eb p\u00ebrfytyrimit deraduan:<\/p>\n

“Katundi ishte i heshtur, thuaja kishte r\u00ebn\u00eb n\u00eb gjum\u00eb. Mbi gur\u00ebt e udh\u00ebve, n\u00eb kulmet e sht\u00ebpive, n\u00eb mure, n\u00eb nd\u00ebrtes\u00ebn e Kish\u00ebs, po q\u00ebndronte, si ta kishte futur dikush me dhun\u00eb, e kaluara. Nga t\u00eb gjitha an\u00ebt rridhnin e kjasonin copa ngjarjesh, veprimesh, lutjesh, dashurish, p\u00ebrmallimesh, dhimbjesh, lot”. Ky p\u00ebrshkrim, si\u00e7 e ka v\u00ebn\u00eb re Bardhyl Matraxhiu, na bind se Maqi nuk \u00ebsht\u00eb ajo \u00e7’ka shohim, por ajo \u00e7ka ndjejm\u00eb. Dhe rrug\u00ebtimi jermor nuk do ishte i plot\u00eb n\u00eb qoft\u00eb se ai nuk do shkonte andej nga shkojn\u00eb mendimet “p\u00ebrtej detit”, ku \u00ebsht\u00eb dheu am\u00eb. K\u00ebshtu,prandaj, p\u00ebrmes telepatis\u00eb s\u00eb personazhit, romani ng\u00ebrthen epizode nga jeta reale e Shqip\u00ebris\u00eb e Kosov\u00ebs (B.Matraxhiu).<\/p>\n

Prandaj le t\u00eb ritheksojm\u00eb edhe nj\u00ebher\u00eb, me k\u00ebt\u00eb rast se rrug\u00ebtimi i Bardhel\u00ebs shkon k\u00ebshtu n\u00eb Tri Bot\u00eb, q\u00eb p\u00ebr t\u00eb jan\u00eb Nj\u00eb. Kalabria, Shqip\u00ebria e Kosova jan\u00eb Trinia e shenjt\u00eb e t\u00ebr\u00eb kultur\u00ebs arb\u00ebreshe dhe kjo trini e shenjt\u00eb \u00ebsht\u00eb nj\u00eb dhe e pandashme, gj\u00eb q\u00eb ndjehet p\u00ebrmes Milosaut; p\u00ebrmes p\u00ebrvajit t\u00eb k\u00ebng\u00ebve arb\u00ebreshe me v\u00ebshtrim kah “dejti” dhe s\u00eb fundmi kemi fatin ta ndjejm\u00eb p\u00ebrmes Bardhel\u00ebs…<\/p>\n

Nj\u00eb vler\u00eb e ve\u00e7ant\u00eb e k\u00ebtij romani, ku gjith\u00e7ka ngrin e gur\u00ebzohet (E.Topi), si dukuri mbi-letrare, si arritje e p\u00ebrkryer artistike, \u00ebsht\u00eb gjuha poetike q\u00eb synon kah poezia, gj\u00eb q\u00eb \u00ebsht\u00eb v\u00ebn\u00eb n\u00eb dukje nga kritika dhe studiuesit, sa nga Kosova aq edhe nga arb\u00ebresh\u00ebt dhe italian\u00ebt. Gjuha poetike, lumi i metaforave, ka ardhur rrjedhsh\u00ebm si “p\u00ebrroi” i nd\u00ebrgjegjes s\u00eb Gjin Bardhel\u00ebs. Asnj\u00eb fjal\u00eb, asnj\u00eb togfjal\u00ebsh, edhe kur shpreh ndonj\u00eb mendim o veprim krejt t\u00eb zakonsh\u00ebm e normal, nuk \u00ebsht\u00eb shkruar pa u zbukuruar e pa u b\u00ebr\u00eb poetik. Gjuha petike e k\u00ebtij autori, si\u00e7 e ka v\u00ebn\u00eb re edhe B.Matraxhiu, ka kap\u00ebrcyer n\u00eb m\u00ebnyr\u00eb t\u00eb shk\u00eblqyeshme at\u00eb kufirin e paduksh\u00ebm e t\u00eb pakanonizuar q\u00eb ndan proz\u00ebn nga poezia. Dhe kjo gjuh\u00eb i \u00ebsht\u00eb p\u00ebrshtatur patosit t\u00eb gjith\u00eb vepr\u00ebs q\u00eb \u00ebsht\u00eb e nj\u00eb bukurie t\u00eb skajshme.<\/p>\n","protected":false},"excerpt":{"rendered":"

Nga Isak Ahmeti (Anton Nik\u00eb Berisha: Gjin Bardhela i arbresh & Etja e gur\u00ebzuar, roman, “Faik Konica”, Prishtin\u00eb 2002. La sete pietrificata, p\u00ebrkthimi italisht nga Albana Alia, Pellegrini Editore, Kozenc\u00eb, 2013.) T\u00eb dy botimet, ai shqip dhe italisht, kan\u00eb zgjuar interesim t\u00eb madh tek kritika letrare shqipe dhe italiane. Pa dyshim se botimi italisht (q\u00eb […]<\/p>\n","protected":false},"author":1,"featured_media":17575,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-7857","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artikuj"],"yoast_head":"\nROMAN I NJ\u00cb BUKURIE TE SKAJSHME - FJALA e LIR\u00cb<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jehonashqiptare.al\/fjala\/roman-i-nje-bukurie-te-skajshme\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"ROMAN I NJ\u00cb BUKURIE TE SKAJSHME - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"Nga Isak Ahmeti (Anton Nik\u00eb Berisha: Gjin Bardhela i arbresh & Etja e gur\u00ebzuar, roman, “Faik Konica”, Prishtin\u00eb 2002. La sete pietrificata, p\u00ebrkthimi italisht nga Albana Alia, Pellegrini Editore, Kozenc\u00eb, 2013.) T\u00eb dy botimet, ai shqip dhe italisht, kan\u00eb zgjuar interesim t\u00eb madh tek kritika letrare shqipe dhe italiane. 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